| The first excerpt represents the past or something you must release, and is drawn from Tales of the Klondyke by Jack London: herself first opened eyes on the scintillant northern lights.
Nay, accident of birth had not rendered her less the woman, nor
had it limited her woman's understanding of men. They knew she
played with them, but they did not know the wisdom of her play,
its deepness and its deftness. They failed to see more than the
exposed card, so that to the very last Forty Mile was in a state
of pleasant obfuscation, and it was not until she cast her final
trump that it came to reckon up the score.
Early in the week the camp turned out to start Jack Harrington and
Louis Savoy on their way. They had taken a shrewd margin of time,
for it was their wish to arrive at Olaf Nelson's claim some days
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Edition of The Ambassadors by Henry James: and one of the things he could muse about under his poplars was
the source of the special shyness that had still made him careful.
He had surely got rid of it now, this special shyness; what had become
of it if it hadn't precisely, within the week, rubbed off?
It struck him now in fact as sufficiently plain that if he had
still been careful he had been so for a reason. He had really
feared, in his behaviour, a lapse from good faith; if there was a
danger of one's liking such a woman too much one's best safety was
in waiting at least till one had the right to do so. In the light
of the last few days the danger was fairly vivid; so that it was
proportionately fortunate that the right was likewise established.
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The third excerpt represents the future or something you must embrace, and is drawn from Paz by Honore de Balzac: Parisian fairy named Architecture is to get all these many and great
things out of a limited bit of ground.
The boudoir of the young countess was arranged to suit the taste of
the artist to whom Comte Adam entrusted the decoration of the house.
It is too full of pretty nothings to be a place for repose; one scarce
knows where to sit down among carved Chinese work-tables with their
myriads of fantastic figures inlaid in ivory, cups of yellow topaz
mounted on filagree, mosaics which inspire theft, Dutch pictures in
the style which Schinner has adopted, angels such as Steinbock
conceived but often could not execute, statuettes modelled by genius
pursued by creditors (the real explanation of the Arabian myth),
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